# THE ELEPHANT IN THE ROOM film

A romantic comedy that asks: Can a relationship work across the political divide?

- Canonical URL: https://wefunder.com/elephantintheroom
- Entity ID: wefunder:company:110779
- Last updated: 2026-06-06T05:01:31Z
- Generated at: 2026-06-06T14:02:41Z

## Quick facts
- Film was released in 8/14/25 on Amazon and other pay-to-rent platforms, and on Tubi 10/14/25.
- From a multiple Emmy-winning writer-producer of HBO's BAND OF BROTHERS (Hanks/Spielberg production).
- The film is a feel-good exploration of a timely serious topic - in a light-hearted romcom package.
- Distribution deals are in place for U.S. including theatrical & digital, and a non-U.S. sales agent.
- Filmmakers will split revenue 50-50 with investors after investors recoup 120%.
- Film has received over $120K in non-recoupable grants & tax-deductible donations, outside Wefunder.

## Active fundraises
- wefunder:fundraise:59718: 4(a)(6) successful (USD)
- wefunder:fundraise:59949: 4(a)(6) successful (USD)

## Story
A lonely female progressive meets a guy she might want to date. The only problem is he voted for Trump for president. Twice. And it's December 2020.That's the premise of THE ELEPHANT IN THE ROOM a romantic comedy written and directed by Erik Bork (HBO's BAND OF BROTHERS).The film was shot in 2023 in Los Angeles and finished in September 2024, with the help of Wefunder investors and a variety of non-profit and individual donors ($120,000 donated to date). It stars Alyssa Limperis, Dominic Burgess, Sandra Ellis Lafferty and Sean Kleier. (See IMDB page for more info.)The film was released on Amazon and other pay-to-rent platforms 8/14/25 and on Tubi (free to stream with ads) 10/14/25.This campaign closed on April 18, 2025. No further investments can be accepted.INVESTMENT/DONATION LEVELS(NOTE: Higher investment levels include all non-credit benefits of lower levels. These same rewards are also available for HALF the listed dollar amounts if contributed here as a tax-deductible donation instead of an investment.)$100 Shout out on the film's social media. $500 Receive a digital copy of several drafts of the script to see its evolution.$1,000 Receive a digital download of Erik Bork's filmmaking video journal.$2,500 A one-hour zoom session with Erik Bork which can be used to get feedback on your project(s).$5,000 2 passes to the world premiere or other film festival chosen by investor. (Transportation/lodging not included.)$10,000 ASSOCIATE PRODUCER credit on IMDB. $25,000 EXECUTIVE PRODUCER credit on IMDB. You and a guest also have the option to meet Erik Bork for dinner in NYC. (Transportation/lodging not included.)Watch the original pitch video and read more below (the film was original titled COMING TOGETHER)...“Tribalism... is the curse of our times right now. Tribalism hinges on us not seeing each other as full, multi-dimensional, fully fleshed human beings. It hinges on us seeing everybody as either pro or con, ally or enemy, friend or foe. People are more complicated than that. Life is more complicated than that.” - Frank Bruni, New York Times columnist - on HBO’s Real Time with Bill Maher - 3/12/22THE ELEPHANT IN THE ROOM is a light-hearted movie about a serious subject. What happens when a young single L.A. woman -- an avowed progressive -- discovers a new guy she meets in December 2020 happens to be a supporter of President Donald Trump? Is he someone she could actually date, regardless? And is she, for him?Helping her explore this question, reluctantly, is her new housemate, a gay man who is the opposite of the romcom “gay best friend” trope. He’s not fabulous, extroverted or interested in talking about her love life. At all. But she so wants them to be friends. And she can help him with something he wants -- to get in better shape while they quarantine together.So she sets about enthusiastically training him while getting his take on what’s going on with the new guy. She gets closer to both of them in the process. She realizes she can't change the guy’s politics. In fact, he decides to attend the January 6 “Stop the Steal” rally in Washington. Is all hope lost for them?Smart Comedy with HeartTake heart: this story does not unfold in scenes of strident political argument! While their different views are clear as the main stumbling point to a relationship, and she experiments with “dialoguing” about them, it’s really about three likable people trying to figure out their lives and relationships and move forward.Tonally it has similarities to some of these films from the past:Classic Hollywood romantic comediesWith a low-budget "indie" sensibilityAnd some of the flavors of recent streaming comedy series such as:The characters have flaws they need to look at, but this is not the kind of arty niche film that appeals only to critics and film festivals. It’s not aimless or ambiguous, and it doesn’t have a “messy” main character who’s hard to fully bond with or care about. It’s more of a traditional narrative with sympathetic characters and a central story problem that builds and complicates in clear, entertaining ways, as the characters grapple with it.Writer-Director Erik BorkErik Bork is best known for his Emmy- and Golden Globe-winning work as one of the producers and writers of the epic HBO miniseries BAND OF BROTHERS and FROM THE EARTH TO THE MOON, where he worked alongside executive producer Tom Hanks and Steven Spielberg (on BAND OF BROTHERS).Erik’s lengthy professional screenwriting career also includes stints writing for two primetime drama series on NBC and the former CW, selling numerous pitches for series and movies to the likes of NBC, the Fox network, HBO and TNT, and writing scripts on assignment for both feature film and television projects that didn’t make it to the screen (par for the course for most pro screenwriters), such as:A World War II bomber movie starring and produced by Tom Hanks, with Steven Spielberg attached to direct, for Universal PicturesAn HBO film about the tragic story of acclaimed jockey Chris AntleyA comedy series about a divorced couple who continues to work together and co-parent a variety of kids, for ABC Studios and producer Warren LittlefieldAn original miniseries about the rise of Apple Computer Company for HBO and PlaytoneA legal comedy-drama about an “old boy’s club” law firm taken over by a female managing partner who turns the tables on which gender gets the fast track, for NBCHis work as a writer/producer includes projects with companies such as:Erik is also a well-known script consultant and blogger on screenwriting who has taught for UCLA Extension’s renowned Writers’ Program and National University’s MFA in Professional Screenwriting. His book THE IDEA: THE SEVEN ELEMENTS OF A VIABLE STORY FOR SCREEN, STAGE OR FICTION was published in 2018 and is a multi-category Amazon best-seller.Erik’s 22-minute short comedy Erik Bork wrote and directed I GOT THIS, which was released in 2018 and played at many film festivals, winning awards such as:Filmmakers’ Award: Outstanding Short Film - Sherman Oaks Film FestivalFilmmakers’ Award: Outstanding Director - Sherman Oaks Film FestivalGrand Jury Prize: Best Screenplay - Sherman Oaks Film FestivalBest Featurette: Comedy - Idyllwild International Festival of CinemaBest Screenplay: Featurette - Idyllwild International Festival of CinemaI GOT THIS is streaming on the renowned Omeleto short film channel on YouTube, where it’s been viewed almost 300,000 times with over 1,000 comments. See samples below:View the film on Omeleto here:THE ELEPHANT IN THE ROOM - Characters(Actors pictured are for character reference only - not the cast in the film.)Project Timeline*Forward-looking projections can't be guaranteed.Production - OCTOBER 4-27, 202318-day shoot over 4 weeks in Los Angeles areaPost-Production - NOVEMBER 2023 - DECEMBER 2024EditingMusic Composition and PlacementSound MixingColor CorrectionVFX & Title DesignPremiere/release planning - SEPTEMBER 2024 - FEBRUARY 2025Finalize North American and international distribution dealsCreate PR/deliverable assets as needed (trailer, poster, DCP's, etc.)Fundraise and plan for marketing campaign and event theatrical screeningsRelease - FEBRUARY 2025 AND BEYONDIn-person screenings plus digital (TVOD & AVOD).Ongoing marketing spend to promote release Revenue/recoupment beginsQuestions? Use the "Ask a Question" option above and others will benefit from seeing your question and its answer. Or for private questions, email us at ComingTogetherMovie@gmail.com.

## FAQ
1. **What type of investment is this? Debt? Convertible note? Interest in a partnership? Interest in an LLC? Equity in a corporation? Something else? If a partnership, LLC, or other pass-through interest, in what states/countries will this venture do business?**
   - Hi Jonathan, Thanks for the question! This is a revenue share where investors recoup 120% (125% if "Early Bird," meaning first $75,00 invested) of their investment from revenue before the production company receives anything, after which revenue is split 50-50 between investors and production company. The production company is an LLC in California (Cornteen, LLC). Please don't hesitate to ask any follow-ups and let me know if I didn't sufficiently answer your questions. All my best, Erik Bork
2. **Thanks, Erik. I get the "revenue share" piece -- but what I'm trying to drive to is what type of tax documentation the investors will get. If the investment is a form of debt/convertible debt or stock, then it's a 1099, and that only implicates the investor's state of residenc...**
   - Ah yes, thanks for that clarification Jonathan! I believe the answer is a K-1 as it's an interest in a pass-through entity. And that the LLC would only operate in California. I'm not 100% on that yet as there is final legal work that we do with Wefunder once the campaign hits $50K and there will be more specific documentation for investors to see and sign off on at that point. That's when they have the opportunity to turn their "reservation to invest" (all you can do for now) into an actual i...
3. **That answers it. Thanks, Eric.**
   - February 2023 update: We've finalized our legal set-up and I can answer more fully now. This is a revenue participation agreement in which we are NOT selling shares in our LLC but simply sharing revenue as it comes in with investors. As such, the current plan is that we will not be issuing K-1's every year, but only 1099's to investors who have received revenue in the prior year.
4. **What's the likelihood that you may need more capital for project cost overshoots**
   - Thanks for the question Durganand! I think that is a definite possibility but it's hard to predict with certainty whether that will happen and how much more capital would be sought at that point. The current investment goal here is enough to finish the movie at a particular basic budget level and the intention is to go forward with that level once this goal is reached. But it's possible things could change before, during or after production, leading to a desire/need to raise additional capital.
5. **Erik, Thank you for your quick response. Can I ask you for any projections on revenue from this project. Also to help people who are not familiar with ongoing revenue generation, what could that look like, Any comparable would help us to understand.**
   - Thanks for the great question and here is a (hopefully helpful) description of the process, including the challenges in making very definite projections. Every independent film’s journey toward revenue is a bit different, but they generally start the same, with the finished film being submitted to film festivals, including the most prestigious ones where the biggest distribution deals tend to happen, such as Sundance, Toronto, Cannes, SXSW and Tribeca. (The earliest timing for such deals bein...

## Team
- Erik Bork (Writer-Director-Producer)
- Ross McCall (Co-Producer)
- Hadley Hillel (Co-Producer)
- Cole Pisano (Director of Photography)
- Alexander Taylor (Composer)

## Q&A
- Q: When would you anticipate the film being viewable in some form to the general public (film festivals, Vimeo, streaming, etc.)?
  - A: FEBRUARY 2025 UPDATE: We're starting with single theatrical screenings in select U.S. cities this month (Kansas City was first) and looking to build that over time, with our distributor Monkey Wrench Films. Non-profits in the "bridging" space are helping to host these screenings and turn them into special events with panel discussions and/or other activities after. (See updates tab for more on this.) Eventually we hope it to expand theatrically and ride the wave of in-person screenings as long as possible. After that (date TBD) we will do a full digital release starting with TVOD (paid sales/rentals) through the usual channels, at which time the film will be available to the entire general public all at once for the first time. Meanwhile our foreign sales agent Cardinal XD is marketing the film for licensing details outside the U.S. and Canada.
- Q: How're things going?
  - A: Good Jesse! I'll be posting an update soon but the quick version is: we're set to premiere on all major TVOD platforms to rent/buy on (probably) August 14. We will also be starting an impact screening campaign in August to show the film around the company on college campuses and for nonprofits and such. We have a brand new website for the film focused on that at www.elephantintheroomfilm.com. Meanwhile our non-US sales agent is in talks to make deals with distributors in various countries. So interesting forward motion all around! And very pleased with how people are responding to the movie.
- Q: 50% of All Adjusted Gross Revenues in Perpetuity. Is that based on the investment amount we put in or is that just for everyone who invested in the Early Bird Special.
  - A: Great question - that does NOT apply only to Early Bird investors. It applies to all investors with their portion of revenues based on the amount they invested and its percentage of the total investor pool.
- Q: Hi Erik, I continue to be very proud to be involved with this project and particularly excited as I see some of the recent successes of some crowdfunded indie films. I understand that some funding was converted to a grant. Could you confirm that and the amount? If so, that is even more great news for investors since we'll get a movie that was funded at a higher level than the amount that our return will be based on!
  - A: Thanks so much Alan! Yes it was. $50,000 that was originally part of the Wefunder investment pool has instead been given to the production as a non-recoupable grant. We're also taking in anther $25,000 as a donation through a non-profit fiscal sponsor that will allow other tax-deductible donations to the film. So our total available funds are $75,000 more than the Wefunder balance you see here. I agree that it's great news for investors!
- Q: Are you looking for actors or executive producers?
  - A: Thanks for the question! We have cast in mind but none are locked in yet. Planning to make offers to them soon. We are looking for Executive Producers which is a credit given at the $25K investment level.
- Q: Erik, Thank you for your quick response. Can I ask you for any projections on revenue from this project. Also to help people who are not familiar with ongoing revenue generation, what could that look like, Any comparable would help us to understand.
  - A: Thanks for the great question and here is a (hopefully helpful) description of the process, including the challenges in making very definite projections. Every independent film’s journey toward revenue is a bit different, but they generally start the same, with the finished film being submitted to film festivals, including the most prestigious ones where the biggest distribution deals tend to happen, such as Sundance, Toronto, Cannes, SXSW and Tribeca. (The earliest timing for such deals being made would be roughly 2 years after shooting the film.) Best case scenarios are sales to the deepest-pocket distributors (which could be for theatrical and/or subscription streaming rights) with examples such as CODA selling for $25 million to Apple TV+ at Sundance 2021, BRITTANY RUNS A MARATHON for $14 million to Amazon at Sundance 2019, or, on a smaller scale, PLUS ONE’s sale to RLJE Films for “low seven figures” ($1+ million) at Tribeca 2019. At the lower end of the spectrum, some films get distribution offers with advances less than their total budget, with no strong guarantee of future revenue. In such cases filmmakers have to decide whether it makes more sense to self-distribute in some media/markets while piecing out individual rights deals for others in the most “independent” way. Self-distribution is a growingly attractive method in the TVOD world ("transactional video-on-demand," meaning sales and rentals on iTunes, Google Play, etc.), where production companies can directly submit their projects and share in revenue without a "distributor" intermediary. Some films also launch their own theatrical releases without a distributor, which, even if not profitable on its own, can establish brand identity (and garner reviews) that can be helpful for later launching the film in other media. If a partial self-distribution route is decided on, there might be a need for additional funds (perhaps $50-100K) to finance marketing campaigns, especially for the film’s TVOD release, and also for potential theatrical bookings. A case study of a film that eventually was profitable with such an approach can be found here: https://www.sundance.org/case-studies/creative-distribution/thunder-road Once the film is in distribution/release of any kind, film revenue (beyond upfront advances from a distributor as mentioned above) tends to come in various tranches with staggered timing and unpredictable amounts, from a wide range of media and markets in the U.S. and various other countries, as the film plays theatrically and/or on streaming services, television, DVD, various VOD platforms, airlines, etc. It can continue to produce revenue for several years or more, but usually the most comes in the first year. Projecting specific amounts and profitability — and knowing which past films provide accurate comparisons for any new film — is always a tricky business due to how many variables there are in each film’s reception and distribution prospects at any given time, and the different potential strategies that can be employed for maximizing revenue across dozens of potential revenue sources.
- Q: What's the likelihood that you may need more capital for project cost overshoots
  - A: Thanks for the question Durganand! I think that is a definite possibility but it's hard to predict with certainty whether that will happen and how much more capital would be sought at that point. The current investment goal here is enough to finish the movie at a particular basic budget level and the intention is to go forward with that level once this goal is reached. But it's possible things could change before, during or after production, leading to a desire/need to raise additional capital.
- Q: That answers it. Thanks, Eric.
  - A: February 2023 update: We've finalized our legal set-up and I can answer more fully now. This is a revenue participation agreement in which we are NOT selling shares in our LLC but simply sharing revenue as it comes in with investors. As such, the current plan is that we will not be issuing K-1's every year, but only 1099's to investors who have received revenue in the prior year.
- Q: Thanks, Erik. I get the "revenue share" piece -- but what I'm trying to drive to is what type of tax documentation the investors will get. If the investment is a form of debt/convertible debt or stock, then it's a 1099, and that only implicates the investor's state of residence and their resident state income tax return (if that state has an income tax). If the investment is an interest in a pass-through entity, such as the LLC you mention, then the investors would get a K-1. A K-1 would have state income tax implications in the states in which the LLC operates. I presume this LLC will operate in California, which means at least a potential California non-resident income tax filing requirement (in my case, as well as filing in my state of residence). Would the LLC likely operate in any other states? Maybe it's not clear enough for you yet as to what form this would take, but the form does affect decisions on whether the investment is of interest to folks outside of California.
  - A: Ah yes, thanks for that clarification Jonathan! I believe the answer is a K-1 as it's an interest in a pass-through entity. And that the LLC would only operate in California. I'm not 100% on that yet as there is final legal work that we do with Wefunder once the campaign hits $50K and there will be more specific documentation for investors to see and sign off on at that point. That's when they have the opportunity to turn their "reservation to invest" (all you can do for now) into an actual investment -- or decide not to. I hope that helps somewhat! Let me know if you'd like to discuss more...
- Q: What type of investment is this? Debt? Convertible note? Interest in a partnership? Interest in an LLC? Equity in a corporation? Something else? If a partnership, LLC, or other pass-through interest, in what states/countries will this venture do business?
  - A: Hi Jonathan, Thanks for the question! This is a revenue share where investors recoup 120% (125% if "Early Bird," meaning first $75,00 invested) of their investment from revenue before the production company receives anything, after which revenue is split 50-50 between investors and production company. The production company is an LLC in California (Cornteen, LLC). Please don't hesitate to ask any follow-ups and let me know if I didn't sufficiently answer your questions. All my best, Erik Bork
- Q: How's the movie release gone so far? I bought it from Amazon, so I know there's at least one sale :)
  - A: Thanks for that Jesse! It's going well in terms of reactions to and press about the film. I was on Newt Gingrich's podcast yesterday talking about it! (It hasn't been published yet.) Financial numbers might take a while to show up but I'll keep everyone posted here. Thanks again!
- Q: So How is the movie doing? Any ideas when it will be in theaters nationwide?
  - A: Hi John, thanks for checking in! It's going great. People are loving the movie and we're starting to do individualized in-person screenings in various cities and plan to build out that release model over the coming months. This means theatrical will be "special event" screenings in individual cities as opposed to a blanket nationwide release like a big studio movie (with their massive marketing budgets) would do. Eventually it will be available nationwide digitally for rent or purchase.